So, now equipped with proper vocabulary, I'd like to share this poem with you. It's by Luis Palés Matos, one of Puerto Rico's most famous poets. He generally is credited with the birth of the Afro-Antillean (Antillano) genre of poetry, which is a homage to African heritage. This poem is filled with imagery of dancing and even the words themselves, because of their rhythm and rhyme, sound like music.
MAJESTAD NEGRA
Por la encendida calle antillana
Va Tembandumba de la Quimbamba
--Rumba, macumba, candombe, bámbula---
Entre dos filas de negras caras.
Ante ella un congo--gongo y maraca--
ritma una conga bomba que bamba.
Culipandeando la Reina avanza,
Y de su inmensa grupa resbalan
Meneos cachondos que el congo cuaja
En ríos de azúcar y de melaza.
Prieto trapiche de sensual zafra,
El caderamen, masa con masa,
Exprime ritmos, suda que sangra,
Y la molienda culmina en danza.
Por la encendida calle antillana
Va Tembandumba de la Quimbamba.
Flor de Tórtola, rosa de Uganda,
Por ti crepitan bombas y bámbulas;
Por ti en calendas desenfrenadas
Quema la Antilla su sangre ñáñiga.
Haití te ofrece sus calabazas;
Fogosos rones te da Jamaica;
Cuba te dice: ¡dale, mulata!
Y Puerto Rico: ¡melao, melamba!
Sus, mis cocolos de negras caras.
Tronad, tambores; vibrad, maracas.
Por la encendida calle antillana
--Rumba, macumba, candombe, bámbula--
Va Tembandumba de la Quimbamba.
February 26, 2008
Exploring Puerto Rico's African Heritage, Part 5: Luis Palés Matos and his Majestad Negra
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February 24, 2008
Exploring Puerto Rico's African Heritage, Part 4: Bemba. and other Words of the Week (Months?)
Yes, word of the week is (finally) back! This week it's bembes/bembas, a word referring to lips, particularly big ones. It feels a bit exaggerated usually and is often used ironically.
Here is a very partial list of other words from various African languages that are present in Puerto Rico today. I say "very partial" because while there are undoubtedly many more words from African languages, few can be traced back to their origins, not only a difficult task but one that is mostly ignored, since very few etymologists and linguists study either African languages or Puerto Rico (sad, really). Anyways, this is a pretty thorough list of words that are definitely from an African language that are used today. The definitions are kind of vague, my fault. Keep in mind that the uses of these words are really fluid and so they are used often in different ways besides the ones given here.
Anyways, without any further ado...
Anamú - a bush, a plant
Bachata - a dance from the Dominican Republic, originally just any kind of party
Baquiné - wake for dead children
Bembeteo - a talkative person, usually someone who speaks way more than they they should
Bembón - a person with big lips
Bochinche - gossip
Bomba - african type dance
Bongó - percussion instrument
Burundanga - mix of things (usually in cooking)
Cachimbo - smoking pipe (according to a more official definition), but also used as a nickname
Calalú - vegetable
Candungo - container, usually bucket or trash can
Chango - a type of black bird, also a timid or wimpy guy
Changa - timid, wimpy girl
Cheche - boss, guru
Chévere - cool, great
Chongo - something that doesn't work because it's slow or old
Chumbo/a - flat butt
Cocolo - people who like salsa
Cocoroco - sound of a rooster
Conga - percussion instrument
Dengue - mosquito as well as the virus
Fufú - a spell
Funche - hard corn meal food
Gandinga - pork tripe, intestines
Gandul - pigeon pea
Gongolí - a little worm
Grifería - african hair
Guineo - banana
Guingambó - okra
Jurutungo - used in "estoy por lo ultimo" instead of ultimo ("I'm almost there")
Mafafo - overweight person, also a type of banana.
Malanga - vegetable
Malango - an ordinary or stupid person
Mambo - type of dance
Marifinga - bland cornmeal food
Marimba - a seed that is dried and filled with smaller seeds to make the instrument
Merengue - a sweet as well as a Dominican dance
Mofongo - dish of mashed plantains
Mogolla - really mixed up
Mondongo - type of dish made of cow stomach
Monga - an illness, like a headcold
Mongo - without strenght
Ñame - yam
Ñangotao - squatting
Neñeñe - whiny, bratty person
Ñoco - missing a part of their body, like a hand or foot
Ñoño/a - lazy or childish person
Pachanga - a country dance
Quimbambas - boondocks
Quingombó - a bean
Sambumbia - keep adding things, usually liquids (to a stew, for example)
Sandunga/eo - enjoyment or a rhythm that overtakes you
Titingó - going out to have fun
Tumbao - a type of walking that is really notable in the streets...
I'm not really sure how to explain this last one, I think the best way would be through this video here...
Well that's all for now... I'll be posting later (I hope... depends on a few external factors!).
February 23, 2008
Exploring Puerto Rico's African Heritage, Part 4: Bomba
Bomba is a dance created by African slaves in Loíza, although it is danced all over the island, especially in the West (like Mayagüez) and South (like Ponce). It is a beautiful dance, with strong beats and irresitable movements. It also is one of the roots of Salsa and most of Puerto Rico's music.
The general outfit for both men and women is white: men white suits (or at least a white shirt) and a straw hat, women in a white shirt and skirt (usually). Colors can be added to this but the white is expected. The pivotal part of the outfit is the woman's skirt, which must have multiple thick layers in order to create the desired effect.
The dancers in turn are accompanied by a variety of musicians. Percussion is crucial. Usually it's a trio of barriles, large drums, along with a single maraca and other instruments. There are also singers, either a soloist or a group (or both). Click
Bomba is, overall, a dialogue between the musicians and the dancer(s). With her skirt (or possibly a shawl or scarf), the dancer directs the percussion. I can't think of any way to describe this but with videos.
First off, here is a short video with one of the most important figures in Bomba today, Tata Cepeda. Her family has been a huge part in the survival and growth of Bomba. This doesn't really show off the "dialogue" per se, since I'm pretty sure it's choreographed, but it is a tribute to her talents as well as an amazing dance.
This other video is longer and not as fast, but if you are still interested I highly recommend it. It takes a moment to get ready, but the dancing is really interesting.
I hope somehow I've managed to share my affection for this dancing with you... it's kind of hard to express the feeling while watching it. Still...
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February 21, 2008
Exploring Puerto Rico's African Heritage, Part 3: Loíza
Loíza is a city just east of San Juan, touching the Atlantic Ocean. The name Loíza purportedly comes from a Taíno cacica (female cacique, chief), who chose the name Luisa when baptized by the Spaniards. There is a variety of mythology surrounding the name and origin of the city, however. During colonial times, Loíza began to harbor escaped slaves not only from Puerto Rico but from all over the Caribbean. Because of this population, Loíza today is considered the center of African-derived culture in the island, bringing the popular bomba and other activities to the island which now form part of its identity. On the other hand, Loíza is one of the most impoverished parts of the island. Largely because of its black population and bureaucratic racism, Loíza has been slower than most municipalities to receive financial help. Drugs are a big problem, along with crime. However, I think some of these claims are a bit exaggerated and it is not as horrible as some say. I don't have much experience there, though, so I can't say.
Anyways, one of Loíza's greatest contributions to Puerto Rico's identity is the fiesta de Santiago (Saint James). This holiday is celebrated during July in the streets of Loíza with parades depicting the battle between the Spaniards and the Moors. While it is known for its strange creatures and caricatures of people that seems as though they have stepped out of an abstract painting, the real show-stealer is the vejigantes, the bizarre demons with paper-mache or coconut masks and giant dresses made in every vivid color that exists. While they're supposed to represent the Moors, they have become so much more. They are dancing, mischievous characters that have captured the affections of the island.
A great account of this festival can be found here, and a fascinating video (in Spanish and produced by the University of Puerto Rico) from 1949 is here.
(By the way, the picture here was drawn by my good friend. I've asked her to do a few drawings for the blog, hopefully we'll see more soon!)
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african heritage,
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February 19, 2008
Exploring Puerto Rico's African Heritage, Part 2: El Museo de Nuestra Raíz Africana, San Juan
Real quick one today. I just wanted to say that if anyone is really interested in looking more at PR's African Heritage, the best place is the Museo de Nuestra Raíz Africana (Museum of our African roots). It's a museum located right outside of el Morro. Honestly, I haven't been (yet!), but if you are interested in seeing a more cultural view of the island it's definitely worth your time. Anyways, if you want to read more about it, here is a description in English and here is better one in Spanish, if you're feeling adventurous.
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african heritage,
san juan,
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February 18, 2008
Exploring Puerto Rico's African Heritage, Part 1: A General History
Slaves from Africa first came to Puerto Rico to replace the shrinking population of Taínos, the indigenous people of the island. Because of European diseases and cruel treatment, Spaniards turned to slavery in order to maintain their profits. Most of the slaves were imported from West Africa, particularly Nigeria. From the Yoruba people the popular Santería religion, combined with Spanish Catholicism, was born (it's much more common in Cuba than in Puerto Rico, however).
Even though freedom could be bought or earned, unlike in the United States, slavery and all of its abuses continued until 1873, mostly for the sake of maintaining the coffee, caña (sugar cane), and tobacco industries. The American Invasion came only about 30 years later, in 1898. Part of America's reasons for keeping self-governance from Puerto Rico was because of the racial composition of the island, which at that time was already quite mixed.
Culturally Puerto Rico owes much to its African heritage. The language has been greatly enriched by the inclusion of words from Yoruba and other languages (if you or your library has a subscription to JSTOR, I highly recommend this article for more information... I'll be talking about it anyways but that article is excellent). African music is the root of the rhythms heard today in all music from the island, including reggaetón and salsa. It's also made a part of food, literature (like Julia de Burgos!), art, and just a general sense of being. I'll be looking at these, and more, over the next few days.
Today African heritage is widely recognized, although sometimes denied because of racism (also to be discussed this week). And while there is an "Afro-Puerto Rican" identity, it is usually sacrificed for the adoption of the general Puerto Rican identity, due to the status situation with the United States. While people with part or full African ancestry can be found all over the island, the cultural center is the town of Loíza.
To be continued tomorrow!
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February 17, 2008
Julia de Burgos' Birthday and a week of African Heritage
Today is the birthday of Julia de Burgos, one of Puerto Rico's most important and famous writers. While she lived a short and tragic life, the love for her homeland has allowed her poetry to speak for her even through the grave.
Today also happens to be my mother's birthday... I'm not sure what they have in common, except that both are successful women despite the odds. So this is for both of them and strong women everywhere!
Here is one of her most famous poems, Río Grande de Loíza.
RÍO GRANDE DE LOÍZA
¡Río Grande de Loíza!... Alárgate en mi espíritu
y deja que mi alma se pierda en tus riachuelos,
para buscar la fuente que te robó de niño
y en un ímpetu loco te devolvió al sendero.
Enróscate en mis labios y deja que te beba,
para sentirte mío por un breve momento,
y esconderte del mundo, y en ti mismo esconderte,
y oír voces de asombro, en la boca del viento.
Apéate un instante del lomo de la tierra,
y busca de mis ansias el íntimo secreto;
confúndeme en el vuelo de mi ave fantasía,
y déjame una rosa de agua en mis ensueños.
¡Río Grande de Loíza!.. Mi manantial, mi río,
desde que alzóse al mundo el pétalo materno;
contigo se bajaron desde las rudas cuestas
a buscar nuevos surcos, mis pálidos anhelos;
y mi niñez fue toda un poema en el río,
y un río en el poema de mis primeros sueños.
Llegó la adolescencia. Me sorprendió la vida
prendida en lo más ancho de tu viajar eterno;
y fui tuya mil veces, y en un bello romance
me despertaste el alma y me besaste el cuerpo.
¿Adónde te llevaste las aguas que bañaron
mis formas, en espiga del sol recién abierto?
¡Quién sabe en qué remoto país mediterráneo
algún fauno en la playa me estará poseyendo!
¡Quién sabe en qué aguacero de qué tierra lejana
me estaré derramando para abrir surcos nuevos;
o si acaso, cansada de morder corazones,
me estaré congelando en cristales de hielo!
¡Río Grande de Loíza! Azul, Moreno, Rojo.
Espejo azul, caído pedazo azul del cielo;
desnuda carne blanca que se te vuelve negra
cada vez que la noche se te mete en el lecho;
roja franja de sangre, cuando baja la lluvia
a torrentes su barro te vomitan los cerros.
Río hombre, pero hombre con pureza de río,
porque das tu azul alma cuando das tu azul beso.
Muy señor río mío. Río hombre. Único hombre
que ha besado en mi alma al besar en mi cuerpo.
¡Río Grande de Loíza!... Río grande. Llanto grande.
El más grande de todos nuestros llantos isleños,
si no fuera más grande el que de mi se sale
por los ojos del alma para mi esclavo pueblo.
In other news, seeing as it's Black History Month and personally I keep finding more African influences in a variety of cultures in the last few days, I've decided to give next week to seeing African heritage in Puerto Rico. This is one of my favorite subjects of Puerto Rico, by the way. Anyways, this following poem is another one which faces African heritage and the history of slavery in Puerto Rico in both the past, present, and future.
AY AY AY DE LA GRIFA NEGRA
Ay ay ay, que soy grifa y pura negra;
grifería en mi pelo, cafrería en mis labios;
y mi chata nariz mozambiquea.
Negra de intacto tinte, lloro y río
la vibración de ser estatua negra;
de ser trozo de noche,
en que mis blancos dientes relampaguean;
y ser negro bejuco
que a lo negro se enreda
y comba el negro nido
en que el cuervo se acuesta.
Negro trozo de negro en que me esculpo,
ay ay ay, que mi estatua es toda negra.
Dícenme que mi abuelo fue el esclavo
por quien el amo dio treinta monedas.
Ay ay ay, que el esclavo fue mi abuelo
es mi pena, es mi pena.
Si hubiera sido el amo,
sería mi vergüenza;
que en los hombres, igual que en las naciones,
si el ser el siervo es no tener derechos,
el ser el amo es no tener conciencia.
Ay ay ay, los pecados del rey blanco
lávelos en perdón la reina negra.
Ay ay ay, que la raza se me fuga
y hacia la raza blanca zumba y vuela
hundirse en su agua clara;
tal vez si la blanca se ensombrará en la negra.
Ay ay ay, que mi negra raza huye
y con la blanca corre a ser trigueña;
¡a ser la del futuro,
fraternidad de América!
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